Ink & Watercolour, St Ives Harbour, Drawing & Painting tutorial. | Cally Lawson | Skillshare

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Ink & Watercolour, St Ives Harbour, Drawing & Painting tutorial.

teacher avatar Cally Lawson, “Paint like no one is watching"

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

10 Lessons (1h 23m)
    • 1. Introduction

    • 2. Materials

    • 3. Composition

    • 4. Ink Drawing part 1

    • 5. Ink Drawing part 2

    • 6. Painting the sky

    • 7. Painting the buildings

    • 8. Painting the people & boats

    • 9. Painting the water

    • 10. Conclusion

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About This Class

In this class you will learn how to draw and paint a harbour scene in ink and watercolour. 

Full tuition will be given at every stage of the painting and drawing process. You will learn some basic composition techniques as part of the drawing process.


Meet Your Teacher

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Cally Lawson

“Paint like no one is watching"


Hello, I'm Cally. I am an Artist situated in Cumbria, North West England on my family's dairy farm. I particularly enjoy teaching beginners drawing and painting, focusing on building confidence and emphasising the importance of relaxing and having fun whilst you paint. I have been teaching and demonstrating on YouTube for the last few years, where I cover a wide variety of media and subject matters. Here on Skillshare I will be aiming my classes solely on beginners, watercolour and pen & wash. Please feel free to contact me if you have any special requests for future classes.



You can see examples of my own work on my website and by following me on Instagram. I work mostly in mixed media, especially liking using ink dip pens and al... See full profile

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1. Introduction: Hello, welcome to my skill share calls. I'm Kelly and I'm an artists work in here in my home studio on the family farm in Korea, which is in the northwest of England. I like to work in mixed media and I really enjoy teaching beginners painting and drawing in my skill share courses. I'm going to be teaching in a water color techniques. In this class, we are going to be looking at painting a harbor saying this particular thing is absent types and was kindly given to me by Michael who requested that I do a tutorial from his photograph. And that's great. If anybody else has any photographs that they would really like me to do of what are their local sayings, providing the photographs of high-quality, Of course, it will be a nice thing to do in the future. I always like to do things by request because its subjects that you want to learn rather than just my ideas of what I want to teach you. So it's always good to know what your favorite subjects are. So this particular, say, Santa lives is rather complicated, same. So it's a bit of a lesson in choosing what to leave out of a composition, as well as what to include in a composition. So we're going to be talking a little bit about composition throughout this course. The end of the course, it'd be nice if you could upload your work. So really the project for this course is to complete your own watercolor with ink and water color of this harvest. Sane. And I really don't want you just to slavishly copy everything I do. I know a lot of you like step-by-step tutorials and he liked to work along with them. But it's good as you go along to develop your own style and put a little bit of yourself into the painting that you're doing. So feel free to, as you go along, make decisions on the composition yourself about how you want to make it look. And also about changing cause because we all see covariate differently. We all have favorite cause that we would like to include. So, you know, making your own, try and make your own and try and build up confidence, especially those of you that have done the previous causes. By now, you should be building up a little bit of confidence and trying to loosen things up a bit and not just copy exactly what's on the photograph. So we'll go ahead now and first of all, talk about the materials. And then like I said, we'll start talking about composition and then I'll go through each stage of the drawing and painting process and I'll come back and see you at the end. Hopefully you'll be ready to load. You work for me and the other students to take a look at. And in addition, for those of you that enjoy these type of saying, I've added two extra ones, extra photographs in the reference section that you might also like to have a go out as a second author project. So also feel free to upload those if you do get round to having a go at those photographs, they're slightly different with a slightly more emphasis on perhaps a building or a boat or something more zoomed in. So it will give you a chance to sort of do something very much of your own, on your own once you build a confidence with the first one. So be really nice if Soviet could take part in our second project of having a go at doing your own from those the photographs that I've included. If there are any questions along the way, please don't hesitate to get in touch with me. I will get back to you as soon as you possibly can and answer any queries that you may have or any particular struggles that you're having. It's always easy to get in touch with me on Instagram. That's my preferred social media. So I use it far more than any of the social media. So do have a look at my Instagram account and you can't message me on that if you want to ask questions as you go in along all via skill share messaging system. 2. Materials: Before we start, I'll just talk through the materials that you're going to need. It's a good idea to always have these to hand, particularly with watercolor. With watercolor, it dries out quite quickly and you've got to keep an eye on what's happening with your paints so you don't want to be wandering off looking for something that you've forgotten to have to hand. So to begin with, I've got the paper here. So I am using a book inferred block, our light using blocks because the glued all the way around. So that means that the paper here is stuck together all the way around. And then when you finish, you just tear that sheet off, which means that it's not going to curl up and you don't have to tape it down. If you using paper that isn't gone around the edges, you will need to either tape or click that down so that when you apply the water, it doesn't start to walk. So this one is a 140 pounds in weight, which is 300 grams and it's not pressed one. And the next thing you're going to need, of course, is your reference photo. So this reference photo you will find in the attachments. And I will also put a fuel reference photos of Harper's in there as well in case you want to have a go at a few different ones. Then of course we made brushes. So I've chosen these three today. You were with what you've got. Don't feel you have to go out and buy things, especially. Now the first one I've got here is around one and that's a size ten. These roll round. So I've got a size ten aside six and a size for the ten is a synthetic one. And these two are stable ones, but synthetic is absolutely fine. The difference with the animal has, is they will actually hold more water. So that means you don't have to refill your brush as often. Which means that you can work with a full brush and you don't have to be, it doesn't dry out as quickly because you're not stopping and starting all the time, reload in your brush if that makes sense. So That's one reason you're used better quality brushes is because they hold more paints, but don't worry if you've just got the synthetic ones or some very nice goods, synthetic ones around. The next thing you need is of course you water. So I always use jam jars. Just old jam jars has all sorts of containers that you can reuse and recycle. So keep cleaning water out, keep change in it. Don't let the water go to Moody. And and I have two pots are always so Warner is for mixing into your pains and applying to the paper. And the other one is for cleaning your brochure. So it's really a good idea too. Change your water often and keep everything clean so you don't get muddy colors and of course, major colors. So there you paints. You worked with whatever you've got, whichever watercolor paints you prefer. These ones are Winsor Newton. Artist quality warns that I've had for years, as you can tell by the state of this pan here. And then of course you need a pallet. So this is a ceramic one. The great thing about this bean ceramic is it's nice and heavy, so it's not moving around on the table. It's nice and secure. You've got a nice big area in the center where you can make some nice big washes up free things like sky and see. And then you've got a few different sizes and it's also got somewhere to park. You brush in between. So that's quite a nice pallets, but you've just worked with what you've got even if it's just a plate and if you are using a plate user white one, don't use something that's colored because it distorts the colors of your paint. So the pen that I'm using today is a pigment liner nought 0.5. So that refers to the size. And of course, the main thing is that there have to be leak-proof and archival and sorry, wat water faster should've said a standard thing that I'm sure you've all got as your pencil and your arrays are. So this is a 2B, pretty middle of the range. Hbr to be, will be fine for doing your sketching with and a nice Eraser. This is warm, but just make sure you get a good quality eraser that isn't gonna smudge you pay per. And then I've got a ruler here. You might not necessarily need a ruler. I usually prefer to work without one, but it does come in handy. And lastly, glass thing I've got here is the kitchen towel. So always have a sheet to hand and it's a good idea. One thing I do, I tend to fold a piece like this and have it shall stand the sight of where I'm working. And then as I'm getting the paints, I'll just show you what this water, you'll often find. You get bits of water struck to this metal area here. And you can just walk right out of there because what happens is when you start painting know, drip off onto your painting and spoil it. So if you're paying, if you brush is just a little bit too where you can just dabbing on that if you have it to the side. So that's always a good idea and you need the kitchen role there, of course, in case of any spillage is as well that you consume more Pope and for lifting out color from your paper. So that's everything like I say, heavy alter hand and have it all ready so that you're not rummaging around looking for it afterwards. And I'll see you again in a moment when we come on to looking at the composition and the drawing. 3. Composition: To begin with yourself puts a margin around my piece of paper. I did that just using the ruler. So that's just the width of the ruler. You don't have to put a margin around, but it does make life easier. You can then test your colors in the margin if you would like to. And when it comes to frame and it does make it easier to push a mountain if you haven't painted right up to the edge of the paper. So it's a good idea to have a margin. So before we start with our drawing, we are going to take a look at that photograph and think about things that we maybe might alter. So if we look here, we've got some buildings in this corner. Now the not really adding anything to this purchasing of the harbor. Very black and white intrusive in the whole painting. So I would leave those out completely. And sometimes I do actually draw on photographs and make notes about things that I'm going to be leaving out or change in slightly. So with this photograph, if your local to this area and you want it to be completely representative, you're going to have to be counting all the houses in doing exactly as it is. If, on the other hand, you just want to make a pretty picture and you're not too worried about looking like the actual location. You could remove some of those houses, switched them slightly more together, alter the composition a bit. So that's entirely up to you really, but I think we'll just leave it as it is. There is, this is a nice focal points on the top of the hill and we can see we've got some people up here. Again. I think I will probably leave those people out because what drew doing them so small light dots is not going to be easy to make it obvious that they are Paypal and if you compare them to the chimney top, so not much different in shape. So it might be nice to let this little building stand on its own against the skyline without these people here. So some interesting and nice things about it is the little lighthouse at the end. So you really want to make a focal point of that is quite an overcast day on here. So I think I'm going to be altering the colors slightly to make it a bit brighter. And we can make this lighthouse standout more by making it a brightest scene and having the sunshine in on it a little bit more. And the shape of this harbor here, this pier where it comes out, isn't it? Nice, interesting shape. So that's all something that we want to make a focus of released this area here we've got people milling around. So we will put one or two people in, particularly on the summed here and around this area where it's very much a focal point. We've got this wall around the side here over interesting shapes. So we can do that, make this area the focal point. And then if we look lower leaving net's out, we've got some wires across here and there will be quite good to our dean to sort of break up and bring the eye back into the painting at the end. So if we left all this just water, what happens is as the viewer is looking at the picture, your eye, this direction of what we call directional lines would take the eye off in this direction. From here. If you put these wires in, you may not be able to see them actually on the camera now. But when you look at the photograph, you'll say them if we put these wires in here, that brings the viewer's eye back into your picture, your painting. So we want to bring the eye back in and lemonade and other directional line going this way which we have with this line of the buildings here and the flow of the water. So there's no problem leaving those out, but I would just pop some directional lines, come in a nice way as well. Okay, so I want you to just talk you through a little bit about composition before started with that. And this is a very simple grid that's actual stone dividing your paper into thirds, both vertically and horizontally. Now, obviously we're not going to draw these lines on the paper. This is just so that you have in your mind of where these lines are. And it's a very easy compositional technique for a beginner is to think about maybe splitting things into thirds. Quite often in my own work, I'll do 1 third sky compared to two thirds Lund, or a major two thirds sky compared to 1 third London, it makes automatically quite pleasing composition. And then where these intersect, we get these areas which we could have as focal points. So now looking at this here, you probably want this area to fit into this focal area here. The top line of the buildings to be here. And then you little lighthouse is going to be down here somewhere. So just think about, it's not a hard and fast rule, but it just just make things easier. To have a bit of a think about where these lines are. So you're going to have a lot less sky perhaps, and slightly less water than we have on the picture itself. And think also about this line here of the horizon. It's going to come on up here somewhere. You could put that on this line if you want. I'm just having a thing. Maybe it might be nicer to have more sky. You put that there and then you've got the buildings. The so have a think and a play before you start thinking about where these focal points are going to be. You don't have to use all of those. That's just an indication so that you've got any headway is the starting. So with this wire here, I will start out there and go to their rather than just randomly go like that if that all make sense. So I'm going to go ahead now and start doing some pencil lines on here, and I'll talk through that as I go. Okay, so of course, a lot of the detail of this is going to go in with a pen. So really we want to be looking at the main lines and areas, blocked areas. So you've got this area of the hill, we've got this very oblong area of the buildings, which is a good place to start really. And then obviously the line of the horizon. And then IS these more complicated shapes here. So if we look at the buildings, the most straight line actually is the one coming across the water, which includes a little bit of sand. So from here to here we want just nice straight line. And we were thinking of having this area or a third of the way across. So I've put these little markers and we're going to have the top of the buildings on that line. So I'm gonna come down a bit from there and go straight across there, that baseline. So that's the line across the bottom of the first few houses and across to the beach. And now the top of the houses, those very basic goes up and down. But in general, we're going to put in as a block, goes down a little bit at the end there. And then we'll fit the houses into that afterwards. So that's the shape you want to be starting with. Those houses are not little bit of sound. If you look at your picture, they would all fit into that kind of shape. Then after that we've got the shape of that wall and then align going off in that direction. So just put them in as sort of geometric shapes at this stage, not looking at the detail, all the detail can go in with the pen later on. So if we look at the houses, really break it into just thinking that's about a fifth of the way along. If you wanted to measure this point with your ruler, you could do to make sure that you fit in exactly the right amount of houses in? Maybe got a little bit too high and a little bit to state. So take you time is a little wall on top of that actually. So that can be the wall and this can be the hill. And then the little it may be Chuck Close rooms and it might be a house. I don't know if you're not. I think it's probably a chapel looking at it actually. Okay. So we've got that took there. We've got the sea wall here. And then the shape of the Sun slightly coming out. And then we can fix all those houses in. We're not putting these in here. We're gonna put that wire, as I said before. We'll put it from there to there. So it's going to be slightly sharper angle than you can see on the picture there. And the polls are hold in it. We'll put those on the third line as well. So you've got a poll and we'll put the tip of a polar. And then we've got another wire going off in this direction, which I will fix to that poll. And then we'll push pop and extra polling. Or will we know, I think we'll just leave that wire on its own there will leave the poles there. And the recount all Today's don't forget at this stage you just work in, in pencil. And then we've got this nice shape of the little pay a here. And I wasn't going to do is make this lighthouse slightly bigger. So game, we're altering the composition all the time. Don't forget when you are creating a picture from a photograph. You not copy, not photograph. You are creating your Ohm's law work. Picking up things that you find interesting and what draws you to that subject. So many papers say, as beginners, panic because they haven't got it exactly like the photograph. But you're not a photographer. You're making an artwork. And the thing about the artwork is it's picking out what the artist finds interesting. So it might be the light, it might be some forms and shapes. All different things attract different people to those scenes. So again, I've just plug that in as a very geometric shape there. So I've said this is quite a bit bigger. So it's appearing nearer to us as well. Because don't forget this little chapel hears a lot further away than this lighthouses. So by making it a bit bigger, that's going to bring it forward just well. Okay, so what I'm gonna do now is fill some of these house ships in. Perhaps I should start if we look at them. And there's some very modern looking houses on here. Actually, I'm not sure how old these are. Really. There's a bit of a combination, I think so these nearer to the front are probably quite old cottages. And then you've got some built-in behind. Some of these look like quite modern with the balconies and things sort of look back AT some of these. And whereas these ones are probably the older warmness nearer to the harbor. So we'll start and just look at the size of those in comparison to the size of this little chapel because that's obviously a lot further away, so that That's twice the length of that. And how many you've got. So this one here, the first one along is obviously a shop. So you've got the sea wall, so let's make sure that that same. And it goes down a lot not if you can see that there where the slow pace where you've got the boat is a half of a bolt there. So again, whether you put all these detailing or not is entirely up to you. Then there's another wall here. So you've got the wall in front and then you've got the slope down and then as a role further back, which comes out to about there somewhere. So then look at the houses. This is a shop at the end. So don't obsess about getting every window and every pane of glass and every sign in the shops and things. Exactly right. And as you will drive yourself nuts. Unless, like I said, you are one of those people who really want it to be completely accurate and representative. I mean, some people spend hours doing architectural scenes and, and get every little detail in any thoughts you all style, that's absolutely fine. Go ahead and do that and take your time. And like I say, you can use the rule that if you want to, I just put that line across there so you can distinguish between the the bottom half is obviously shop with a flat above it. Then you've got a little bit of roof. And you come to the stage where you start to see popping in lines to represent routers and things and not worrying too much about the accuracy there. And we've got another one on tops and as a roof there, one further back and then we've got one going out this way. And you could spend hours getting absolutely spot on if you really wanted to, but I'm not going to, I'm going to fill this in quite quickly. And then we'll think about Putin. Some of the boats and things are some boats part here. But we don't really need to do all those with the pencil. We can pop those in with the pen. But think about your scale. So if you look at the size of the people here, compared to the size of the wall, and compared to the size of the boats and the windows, et cetera, don't make your people to be thinking about them stood against that wall and where they come to. So there are about that big and the people that we can see there, just for a line in there for now to indicate those people on the beach here. And I have a slightly bigger because the slightly closer to us, we don't forget some of them may be children, so you want to alter the sizes of those people a little bit. So I'm gonna just do a little bit more with a pencil now, and then I'll come back when we do the pen in a moment. So take your time at this stage, make sure you've got it accurate. Lactate doesn't need to be as the photograph if you are just making a representation, I'm just looking now one thing that we've completely forgotten on here is the horizon, which we're obviously forget. So the horizon goes out and near horizon, most Bay flat water does not flow downhill or pill when it's on the ocean lab that has this line must be straight because the viewer's eye will pick you to profit isn't straight. Okay, so you've got that nice line across that third there. Here we've got the wire coming down and the wire coming down this way to make that nice composition. So we've altered the photograph quite considerably. And the other thing we can do with things like this, particularly if you want to alter the composition is moved the boats. And because you know, you could put a boat in where the two thirds made their ego pop there if you want to pop something and you focal buying. Similarly with birds, actually, you could put a bird where it's going to be a focal point. So just think about little tricks like that are all going to make a pleasing composition. So actual carry on with the pencil a little bit more and I'll come back to you when we start and put the income in the next lesson. 4. Ink Drawing part 1: Once you relatively happy with your pencil drawing, you can then move on to putting your income. And this is where we can go into much more detail. So as I said before, I'm using size nought 0.5. I didn't want to use anything too big because we've got all these complicated windows and things and some small papers and all that kind of thing. So I didn't want a big thick pen to be doing this with. Like I said earlier, it must be water proof because when you come to put your watercolors on, you don't want to smoke, Jim. So that's an important thing to look out for. So with the drawing itself, you'll see, if you look closely, I've not got every single houses it should pay. But I have picked out one or two things that stand out. So certain shapes standout here, we've got something that looks like the top of a church, maybe, maybe not, but we've got that term shape. And then monitored places or some more distinctive buildings, different shapes that stand out more soft matrix should have included those. These two houses together stand out quite a bit and perhaps a bit more detail towards this end. But I'm not going to be Putin in every little bit of detail around the shops and doors and people and things. Now when I begin an ink drawing over the top of my pencil, I usually start at the top and work down so that my hand isn't actually smudge in anything. But what I'm going to do, first of all with this one is if we say down here, we've got some boats and people stood in front of those houses. So if we just start by drawing the houses, will then find we've got a line going through where we perhaps wanted a boat or a person. So I'm going to just pop one or two of those thing. Again, this is going to be a little bit impressionistic. I'm not going to copy these Exactly. I'm just gonna put a few boat shapes and people shapes in this area in front of these houses here. And very, very simple shapes because they're a long way away. So we're not going to see the detail on those boats. We're just going to say a bit of an outline. And the same with the paypal. So if you want to ask Do people from a distance, you want to try and vary them get some sort of as if the walking along or bending over or maybe if the carrying a bag or something like that. You want to just make a few sort of very impressionistic lines, but try and old to them. One thing you can do is draw something that looks a bit like a carrot and then pop a little dot on the top, so that looks like a head. And then put them closer together and further apart. And again, when we got the color and we can make the colors very different on the different papers as well to give us a bit of variety. So we've got an upside down bowl here, we'll put that in. Now, as I said before, we've got a bit of a bach top of about showing only the side of those, that slope there. And I'll just put one or two more people along, further along walking, either facing each other or away. Like I said before, when we're doing the pencil drawing, who want different heights as well because people are different. Some may be children. And we've got some in front of this wall as well. So by putting them in now, we're not going to be drawing across them. Later on. Then I'll do a bit of a carrot shape with a head on the top. And these wrongs in the foreground are little bit bigger. We gain some light with children and may be smaller. And actually he assumed might be sort of as if the engine over in Assange also thing. So very impressionistic. And actually you could put something that maybe looks like a dog on a lead. So just use your imagination there. But the just lines Rayleigh and don't worry too much about them looking exactly like people and, and stressing about them because that's when you'll make a mess. And if you want to get a scrap of paper before you do this salted section and have a go at just doing some impressionistic papal. These people are a long way away. We're not seeing the detail on the face is we can't see what color trousers they've gotten. We can't see what the carrying a so far away and pop so in front of this wall as well. There's a lot of people around. If you start to look at the photograph through quite a few more people than you initially. Notice that we can always put some more in later. Okay, so I'm going to start at the top and work down. And I'm not going to do any lines in the sky apart from perhaps, I will decided with perhaps put a bird here. So again, that's just a couple of lines. And I think birds look better if you've got more than one in a group. And they could be as big or as small as you want because there could be a lot further away or a lot closer to or searchers make them whatever size you're comfortable with, dependent how close you want. So we'll start with this building at the top, and it's, I'm pretty sure it's a chapel. It looks like it's and may you can't really see the details. So again, like when you are drawing the Paypal, just be drawing the lines that you can't see and don't be letting your mind fill in the blanks. We're just giving you a nice impression of that building. So it's very dark where the door is. So Phil Latin. So as you go in along, use your pen to create some shadow. So the world is coming out from behind and then obviously circling around. And where those people are standing. It goes a little bit further out to that side. So again, as you go along, put some shadow, endosome shadow than that on this side, and that's all going to bring it to life. Not wanted to put anything in light bricks or detail because from this side we wouldn't see that detail. But we've got a bit of detail here with these stones. So it's obviously a very rocky little hale, little mounds that we've got here. And we've got those stones. So make sure you get those in. And that's gonna give us a bit of variety of shapes of our lines and some texture. And a little bit of interest. Once you go down there. And then just put some lines in. We've got, it's very steep obviously, you've got some soil going way down here, vary the pressure on your pen so that you've got some darker areas and some lighter area. So it's not too uniform. At the moment. It can look a little bit messy when you've still got all that pencil. But don't forget that's gonna get ripped out later and it's gonna look completely different. But to me that with the pen is enough detail for something that's so far away. So I'll come along now, pop some of these roofs in and chimneys. And again, I'm just keeping it very loose, impressionistic. I'm not worried about getting every window and every pane of glass, every gable end, just making lines and shapes and giving an impression. I'm not going to drag myself matched by looking at every every window there. So again, when you're doing this, very the pressure on your pen so that you've got some short areas of shadow. Particularly in the windows. The windows appear very black. So make sure you so the different ways to shade when drawing with a pen, especially when you've got the same size nib throughout the drawing. In order to get some difference, you want to be using some shadow. So either you can do little lines like that together. There's different ways you can do dots or you can just completely fill it in. So there's all sorts of different ways that you can create shadow and variety of line with Japan. And again, not something you can practice very TO build in here with a very low pitch roof. So that was one that sort of stands out. Looks like some flats or zoom thing. So I'm going to carry on now all way across these buildings and I'll come back in and torture again once we've done this area because this is going to take me a little while. So the main thing is to keep very nose lines, make it interesting, have areas of light and shade. Because between the buildings the light can't always getting there. So you need some shadow to make, make them come to life. 5. Ink Drawing part 2: Really the buildings are going to be the area that takes the most time. So do take your time over that. I'm hoping you'll have more time than ME today that come through that quite quickly and tried to keep it quiet, loosened, impressionistic rather than making it to detail. That really depends on your style. So I'm going to now put the horizon line in and keep that a very simple line. And that's enough for that. As with the sky, I'm not going to really put any lines in the water. Some people like to do clouds years in the pen on waves and things years in the pen. I prefer not to have, prefers to use the pen for the detail and let the paint to the work for the areas like the sky and the world to. But if you did want to do some more detail in the water and the sky with the pen, if course you could do. So. Those of you that are from centimes and know they saying you probably shouting at me now saying you've got that wrong and you've got that wrong is quite a complicated scene. And if you're not familiar with the area, you really need to take time to look at this photograph. You've already got rocks here, you've got rocks going all the way off. I've made this little wall here to bake really too long. And the small little buildings here. So just see some vertical lines are just going to give you that impression of those windows. So before Carry on with any more of this, I'm gonna pop they say in like I said earlier, I've made this bigger to make more of a statement of it. If you want to do it. Justice scale, that's absolutely fine. And the original shape or hadn't got quiet, right? It's much more domed on the top denied drawn it. So you've got a little rail around here. And again, this comes back to observe in, and if you are looking at this photograph on a tablet or a computer, you could zoom into some of these areas and you might be able to see a little bit more detail and you can see just by looking at the photograph. And these need to go out a little bit more days lines. So although it got the pencil lines there to begin with, don't be frightened to just change those with Japan when you see things again and see that the not quite right. Because the more we look at the subject, the more we see and we can alter and improve things as we go along. So again, just putting some of that block in by making some heavy aligns that. So now we've got that in, I've just got a little something there. It's got some ROS coming down, so I'm just going to soften the old and there's some rows there. And now we can put that wall behind it without worrying about coming over the top of the little lie touted house itself. And again, we've got some people asked if you wanted to put those people in front of that wall. Of course, you could do. And again, look at the angles of the lines now because if we look at these corners, the going down into this a lot, lot. And then this line here is quite straight. And then it goes to the top of the wall, which is going back in this direction and it gets rather complicated. So leave out all the complication. Just put things in that you're sure about and that you can really say nice sharp line that if this wall going down off towards the sea, and then you can see this side of the wall as well. So think about perspective a bit when you're doing this, where the world's going off. Where you can see the top of the world and then the side of the world. It's quite complicated shape is that. So take a little bit of time getting that right. We've got some kind of telegraph poles, we've got people. Let's put some extra busy-ness in Haha, so it can just be lines Rayleigh and here at the base of that building will put some heavy aligns insulin regards stop on the edge of that building. It's much darker down here as well, some heavier lines. And here just a very the whole thing a little bit. Make it look like a much more busy area. Small people in. And then when a deal the side and nothing that some kind of a world where there or maybe it's for the boats. Expats tell from here like say if you know the area, you will know what these objects are. It will make it much easier for you to paint it and draw it really. The case. We've got the bottom of the wall and then we've got that we can see the top of the world where we've got a lot of you say it's worn, it's got marks. So just some very basic lines you've got already Lynn, we've got some fencing, haven't we gone along the top of there? All the way along here. Oversee for safety. And we've got a van and power to appear. I'm not gonna put the violin. If it's your van and you want to pay into in, then do that on some shadow or think long hair. So if we put shadows horizontally, it makes the feeling that that's a flat surface as well, so that all helps get the shape. So across here. And then we've got the beach going out. So put the line of the beach, the sound and keep that loose. And then we've got little wall here. So just some indications of the bottom of the wall. Soon perhaps small people make you as busy or as quiet as you want really to have 20 people and if you don't want to. So obviously there's bits of boxes around as boys, there's all sorts of things that, that you could make a much busier seen. Again here we've got some kind of a wall and some Rails in front of it. And a row of boys. We seem to have a row of boys there. I'm going to just do a sort of a back of a boat. This is the facing of this towards the houses. Wanted to extra boys. We've got all sorts of things bumping around on the side of the wall to that. So again, who has many boats in as you want or as you don't want you. Who extra boats in or you can leave some out. It's good to have space in a painting. So don't cram everything and we won't sum to see the water in between. But the thing about the boys is they do give a little bit of extra Daxue cooler as well, or they can do so. And you can make those directional lines that we talked about. If you feel you need a line, you could use a line of boys to do that. So I've missed out the wall here, have not seen yet. So we need, I wanna make crass strong law and if a can along the top and then it goes down there where that bowties. So then the bottom of the wall will put one or two lines as if to indicate some bricks there because he can't see them. And these have been more obvious once we get the coal wrong. And then some dark lines where it makes the wall to, because there's going to be heavy shadows that the students don't want to get past that, roll down to the world to just that. So that's where that finishes and it slopes off nicely down onto the sons and then you've got near the wall behind here. So now it's just really these posts, which again, I'm not going to put too much detail in those. Give an indication of the top there. The indication of where the frustum DO maybe. And then this, if you prefer to have that a bit more straight, a bit more of a straight line and very distinct line. Rather than doing it as I did in little short lines, you could use your ruler at that stage, I prefer not to, prefer to do things free, humbled again, that's something that comes down to your own style. So I want to just put a shadow down one side of the pole. So we need to do now is give the panel a few minutes to dry. I'm in the dew dry very quickly, but it's not a good idea to start a raise in your pencil lines the minute you finish with your pen, just give it a few minutes to dry. And I'm just gonna put a bear shadow onto the boat is going to have quite a bit of shadow. And when we come to this, we could do this in Pepsi. We've got reflections of the houses and the pen is quite a good thing to get start and build up some of those horizontal lines. So open up to about this area line here. You are seeing some reflections in the water of those houses if you look carefully. But they only come out about there. So we'll leave the pen work now, leave it to dry, and then we'll get rid of all those pencil lines. And next thing we'll do is start on the sky. 6. Painting the sky: Once you've completely removed all those pencil lines and you're happy with hearing drawing. You can go on to doing the sky. Now, if we look at the photograph, there's quite a lot of clouds in here and it's making it quite overcast and the colors are quite subdued in here. I want to make it a much brighter, more cheerful painting with cockroaches as Cerulean inherits, looking like it is summer, it's just a bit overcast and long day sit Top of the horizon here you can see it's quite bright in the distance. So I'm gonna do a very plain simple sky because the detail and the interest in this picture is in the harbor and the house is on the boats and the people. So by keeping the sky on the water quite simple, it draws the eye to the area of interest. So I'm just gonna do a very simple sky. So here I've got a nice ceramic pellets. And as I said earlier, we want some nice clean water. And I'm gonna make hooked to colors. Plenty of water. In H1. You want these to be as similar consistency so you could measure your water out if you wanted to, but I do it by eye. So similar amounts of water in each one of those. And then I'm gonna get some surreal alien, which to me is a very summary sky color. And again, if you want to leave it cloudy, that's entirely up to you. If you want to alter the colors, you could alter the colors completely to make a very different picture. This goes back to not just copying the photograph. Who created an artwork. We're creating our own image. So I've got this Cerulean in there and I'm going to put some cobalt in Neil's along. So just slightly darker really. And it's gonna give us a little bit of variety in the sky rather than choose worn flat color. But again, work with the blues that you've got, whatever you've got on your palate. If you find that the two harsh and that you don't like the color. And often if you use something off the opposite side of the color wheel, just a little splash of color into that. I will just make it a bit more natural. So the opposite side of the color wheel to blue is orange. So if you popped a tiny bit of orange in there, if it was too bright, you didn't want to as bright as that, then that would help to us, not that back a little bit, but I'm just going to work with those two colors. Before we begin, I'm just going to slightly tilt my papers in this tin of pencils. So GUID work flatter, you prefer to be tilted. I usually work on an easel, so I'm used to having things. Flow in this way and I quite like it to be a little bit tilted. So at the largest of the brushes, which was a size ten, I'm going to wet the whole sky area. So by leaving the buildings dry, by Catholic painting around those, you know that the paint isn't going to really slow down too much onto those. So look at the picture that the paper from the side and you'll see it as any areas that you've missed that you haven't wiped it and allow it to sink in a little bit into the paper. Apply paint straight away, just give it a few seconds to go down into the paper. The paper is designed to absorb water. Selected, do his job, will not shine just to go slightly off it. And it really doesn't matter smell that blue goes down into the water. But for now we'll just leave that as a straight edge there. See if there's any pools and a shiny areas. May that nice and flat, nice FEV1 wash. I'm stood to the side of his paper with my head tilted. You'll see there's a shine on there from the light and that's picking up where it's maybe a little bit too thick, so just give it a few seconds just to go in there. I'm going to start with a darker, the two colors that a top Philly brooch, make sure it's nice and full, filled with paint. And go all the way across. Use your whole arm. I'm standing to do this rather than sitting. So it may mean you can work from your shoulder rather than your wrist. And I sweep in line so nothing is drying out too quickly. So come halfway down with a cobalt. And then I'm gonna come in with a syringe alien. And you'll see that's flowing slightly back into their go around your little house. Again, use your whole arm so that you blend in it nicely into the water and enter the pain to both. And you don't want it to be drying out, which is why we went the paper in the first place. So things like the birds just going straight across the top because obviously you're going to be showing through their work quickly. So dx not drying out. And don't be tempted at this stage to start fiddling and putting extra colors and things in. Just leave that to dry completely before we go on to the next stage. 7. Painting the buildings: While she skies dry and it gives you time to mix up some colors for the buildings, right? Made a few up here. You might want to met different ones. You might want to do a little bit brighter. If we look at them, there isn't a lot of variety. We've got a few different shades of brown and gray. A lot of the rooms are pretty similar, like a reddish brown color. And then we've got some white, but I wouldn't advise paints in it completely y-type. Got some a lot of water here just with a little dash of blue in which we'll make some of those cause of the white buildings. You might want to Brian Ao per bit. I've got more yellow than you can see in here to make it a little bit brighter than it is the only building that's really a different color resist, one on the end here. So you can make more closer PJ go along. I would advise really that you keep the colors quite simple, not too many mixes. And when you mix in your colors together, don't mix more than two or three close together because they become very moody. And if you keep it quite simple and just have a few cause it's going to be a more effective painting. And if you go mad and way too many clothes, because we can always out some brightness with the people on the boats afterwards to try and keep these quite simple reasons and massive variety in there. And again, like when we were doing the drawing modality, putting loads of detail in these houses a quite a long way off. So just going over with a little splash of color. And at this stage I'm going to use a smaller brush than I had before. If a confined is I've put it down somewhere. I shall find out in a moment, shall go along now and do all these buildings. And of course, we don't have to go around the windows and things. We can just go straight over the top of them. But I'll start at the top here with this little chapel and a mixed a little bit of grain. You'll say here I used a grain and about it a bit too rhetoric to make it a bit more natural. And I don't want that hill to jump forward, so don't want anything too bright back there. Okay, so I'll go ahead now and start painting in these buildings. So I'll start right at the top. And I've mixed some raw number together with a tiny little bit of burnt umber in just to make it that little bit darker. And if you go any areas where the light, where you want to leave the y to the paper, then do that. We've got a little bit of whiteness on maybe a Windows on there, so I'll just leave that. And into that, I've got a little bit of a gray color mixed up. This is from cobalt and burnt sienna. And just add a bit to the interests that we gave it a variety in the toner. I'm just going slightly over the line onto the sky. Sir can just pick that off with a dry brush. Brush because that sky is nice and dry. And then I'm going to get this green not talked about. And a lot of this hair is soil as wellness grass on the soil. So you don't need to worry about that Brown from the wall coming down into this grass. And these rocks. So you see I'm leaving some areas that I'm going to add some of the brown into that soil and some of the darker color as well. Just less than it mix on the paper. And not put in detail in just dropping the colors together. So it gives us an impression of a bunch of lighten shade in those rocks and on the ground that I'm just looking at this photograph there is a little bit here, but it's a bit ly to, I think maybe not align of rock awesome thing. And so I can just take that tout, tease those colors around. And whilst I'm doing that better, might as well come along with a bit more of that gray color for the rocks. And do these ones that are behind. So that that distinguishes them from the buildings that knows a little bit there as well. Come on the brown on the wall here at the end. Again, just leave little bits of Y here. And there is a thing about watercolors. You want to live little bits of the paper, paper showing through. Don't overdo it with your highlights. Less is more. So this building, one of these buildings along here, I'm not sure which one. It is. White. And I'm just going to pop a little bit of the blue on leaves, some bits of white. And that blue will dry a lot lighter than it's going on. So where we see a white, white buildings will just pop on a touch of that blue. There aren't too many compared to the older callers. Actually, most of these buildings are either brown or gray. The NT is white. Not Y here. Just doctest around again as we did when we were drawing. Just let it drop bomb in the very impressionistic, don't pay for s2 much. So this is more of a gray color. You usually boardwalk make gray out of the three primary colors. I often make each outer burnt sienna and ablate, either ultramarine or cobalt ends up being quite a nice color. I'm not doing a raves. I'm gonna leave the roofs here. Kusama over red column, most of the roofs across similar color actually. You see you don't need a lot of paint. I want to measure per small amount. Some of the buildings are much more brown and the walls and things. So we'll get some of that brown or tomato as well. That makes it a little bit brighter. Just get a little bit of red for one or two, the rooftops say read that's like said earlier, that's the Sienna. So it is a ready color. And that's really Brian in things up using that for the roofs. One of two, the rules might be gray rather than red. And what I'm going to do is I will come back and put some extra color on days. Once it's dry to just create a few more shadows. That brown color and brown around the wall. And then we've got this wall going off down here. So just keep w0 knows few close together. I think these are some rocks here as well, so that's a slightly different color. Don't get over complicated with it. Maybe go around one or two days. Paypal. And can you see how I'm allowing the white of the paper in areas to come through. Trends, make it more of a sunny day than it actually is on the photograph. In which case you want to let some of that white paper show through. Just in little patches. Nice yellow, which I'm going to out, this is going to add a little bit of sunshine to areas. This yellow is a row of Sienna, which I really like one of my favorites. Just pop it in. Homicide, one or two buildings on the street around some of these boats and people. And I'm going to use that for the sound. Again, the little bits of Y to leave some of the papers so that we can put some extra color on top of those in a Bowman once it's dry. And then we've got that wall as well. So I more or less took to the earth colours with little bits of blue. You could go much brighter news cadmium yellow if you wanted to, is nothing to stop you doing that. So we've got plenty of Y showing there and those roofs and things are starting to dry a little. Tell you what I will do. I'll just make that build in this kind of a painted a pinky color. The end, I'll just get lots of water in a tiny to achieve peachy color. She got Alizarin there. Into that one there. It just makes it a bit different. And then with some of these raves where I've put that rhetoric is going to go along and put an extra little bit so that we've got lighten shade going on. I'm not going to overthink where the light's coming from, just going to make it so it's, the sunshine is bouncing around a bit. And it's not just uniform. And the same thing with the gray as well. I'll just pop some of this gray and have been different areas just to give us an extra bit of shadow. Here in there. It's going to be dark in between some of the buildings. And again, like the highlights with your shadows, don't overdo them. We want to keep it nice and light is picture. We don't want to make it to have a sir, I think actually for the buildings in the background, that's probably enough now. And we need to look at this lighthouse. So through the lighthouse windows you're going to be seeing whatever's behind. So that's a little bit of that wall. The same cause we had just before. The lighthouse itself is why tonight it's got these bits of roast so I can put the rules down with the burnt sienna. And I'm going to more or less leave it white. I'm gonna use a little bit of that blue for some shadow. But I'm not going to put it over the whole thing. I won't not to stand out. And in fact, I'll put a little bit of sunshine on it as well with some yellow. Then we might even come back later and put some mole cadmium or brighter yellow almost say about that. So whilst that's drying and we go into the next stage of the say, beef, sorry, before we go on to the next stage of this, say, we could use the same colors to make some of the reflections from the houses. So I'm just going to whet the area. So the reflection only comes out to about here somewhere. It doesn't go any further down. So I'm just going to adapt in spaces. So in places some of that, some water along there that I'm not covering the whole thing and leaving little bits of dry paper. And then with these colors that we've used over here, I'll just dubbed the main. Looking at where the cooler Zara as well so that we've got, you know, actual reflections rather than imagine drones. Some of the yellow, some of the gray using all those same colors all the way along. Some of the blue, the cobalt. And then we'll come over again later with some water when we do the water, but that'll be nice and dry. And it will just give the impression. Some reflections from those houses because we've got the colors in there already. I think this wall needs to be a bit more defined and a bit darker multiple above the grey in the wall. Again, when we do the boats and the papal after this is dried. A bit more detail in there. So I'm going to now leave all out to dry. 8. Painting the people & boats: Now those buildings are dry. I'm going to indicate some of these people on boats and I'm gonna do all of these straight from the colors in the pants. So I'm just going to pick them up with a little bit of water on my brush straight from the pan, which means we can vary them quite a bit. So the boat colors, We've got a few blue ones and green ones. Let's not make them all the same. So much brighter blue. We've got there. So it's the same blue as the sky and the buildings, but because it's straight off the panics much thicker, it's going to show pull up more. We've got some lovely green boats. Will have a look at this green in here. And the back of this one will make green. While we've got the green on the brush will give this chapter green junk. Some of these boats are pretty white as well in places. So this one here, or we'll make it a completely different color. We'll make this one read or no, it's not red on the paint on the photograph. But we can make this a red one. And we'll leave a little bit at why here. Just as if there's a bit of pain coming off or maybe it's the not tar it's got a sign on it. So don't block the whole thing in. Gain is just an impression. And we'll go get some orange whites, not an orangeish. It's more of a cadmium red rather than the Alizarin. I'm OK. Just wanted to buy clothes on. And some of these bars are white as well. They're all different colors. And a darker blue, a lot of paper where Jane, so let's do some of these Paypal with some of the darker blue. And perhaps we'll make this a nice little red bow. This one here brings a bit of color than this person might be wearing a red jumper. Boat upside down there. This is a different red, so I'll make that boy or different read. Little bit big that now that I've squashed, let's just take a bit of that out. It's best to scatter different closed, not got much yellower and have would that say about making some of these people yellow? So you can barely see that the people. And just by adding those abode, there wasn't there as well. That's and again, some of these shops have bits of color on the signage and things to just even just drop in some color here and there is going to give you that impression. We made a business out of an area. Like I said, I would just put a little bit of sunshine down the side of the light house with that yellow is well, what we didn't do was the reflection of this wall and a lighthouse. So that needs a reflection as well, doesn't it? Whoops, oh gosh, don't do that. That's a good lesson on what not to do. They go soldiers. Few more reflections in whilst we're hearing obviously will be somewhat here as well. Reflections of the things that are around in the water and lead those to dry before we actually come up with the Walter on safe, we can get some more color up here. So I'm going to put some of the yellow on the sound as well. Like I said, we're making it a sonya picture than it actually is. So let's brighten this Sander per bit of reflection, progress bit of yellow in the sea there. And we need a reflection from the boat as well, don't we? So we have to remember which read it was. We used little bit of water on the brush and just teaser about. I'm going to worry too much with these ones up here. They will have a reflection, but there will only be small. So that green. Ok, so that was just a little bit of water with some of those two those two colors just bumped into it. Just thinking, do we need more? I've got a nice pink here. Let's give some j pink jumper. This is where you can see use cause that you don't normally use. Because we all, we've all got clause in our pilots that terms, we often don't use. Oops, not sort of launched a bit there. And I think we need a bit more color down this side as well. Some of these people here. And there was a box wasn't let's make that green light the boat. Some boxes. That could be cars parked, all sorts of reasons just to double that of coloring. Just gives it a busy I fail. And whilst we're doing this, we may as well put a little bit of shadow. Find that blue shadowing color down the side of these poles, which you're going to be left white on the side there. We don't need to call or anything on the actual wire itself to more callers on the boys and then the rest of the boys. I think we'll leave White. Okay. So I think that's enough for that and it's up to you how busy and colorful you make it. But I think that's probably enough. So I'll leave that to completely dry. And then the last thing we need to do is the water. 9. Painting the water: As I said with the sky earlier, we really don't want the water to be too complicated. This is your area of interest where all the businesses going on, on the people a million around. We don't need the sky and the water to be complicated. So we're going to simplify them. Now when you think about coolers for water is incredibly difficult because there's so many factors affecting the color of the water. So the lights, the amount of sunshine that's on there. But the water reflects the cause of the sky, but it also will reflect the colors of the buildings and the surroundings and absorb the colors from there. But don't forget, there's also color underneath the water that's reflecting upwards. So the seabed, the sand, and the waves themselves cast shadows on each other and the depth of the water will make a big difference to how dark it is and how dark it appears. So it's quite a tricky thing to do and to decide. And we can alter it because we want the picture to remain lights and summary and fresh. And, and that's the whole thing with watercolor Israel, one that paper to shine through. We don't want it to look too dark and depressing and too heavy. So I've made up some of the cobalt, which of course we had in the sky and we've gotten some of these buildings and I've added to that some of the burnt sienna just to make it more of a grey color. And then I'm going to wet the whole area of the water. So this is nice and dry now, this painting and when you're painting over the top of these areas that you've made reflections in the water. Just imagine that you're painting over glass and you'll be doing that very delicately with this water. You paint in water over the top of that pain that's there and you don't want to lift that pain top. So you do it very, very gently. And it's made a little bit more complicated because you want to go around these boys really. You don't want the watercolors flowing over too much over the boys and the boats. And you want to leave some white and don't forget we had a white boys as well. So this is where you need a brochure. It's got a nice, good tip, a nice pointy tip, so that you're not actually having problems drawing with the end of the brush. Their good-quality brochure comes in handy with that nice tip on the end. So we have now is a big brush. You've got more control. So I'm taking the time with this going quite slowly, allowing this water to sink into the paper, allowing little chinks of light, little dry areas of paper to remain. Because if you leave some dry areas of paper, the paint isn't going to flow over those. And it's gonna leave a little bit sunshine on that water. And if you don't like if you've got too many highlights, you can always come back and Polson. Paint over afterwards. Okay, so just again like assembly the sky, put your head to one side, have a look over the surface of the paper and see if you've got any holes there that is too wet, a little bit white over here. And you can lift some of that out with you broached before you start applying the paint. Leave it to sink in a couple of seconds, and then start with the painting. So right on the horizon, i'm gonna go back to this unruly and that hot earlier because it is a while now since we did the Skype starting to dry out a little, so it's a bit brighter than the sky itself. And we seem to have a line across the horizon where it's a little bit brighter. So put it out there and say I've gone over the line a little bit. Perhaps should have used at slightly smaller brush for this area up here is something you could do. And then I'm going to add in some of these grayer color here. Just tease it together, allow those to cause to mix together a little bit. And then we'll come down with more of this gray color. And we're going straight over the top of these reflections that we put in early because they will come through watercolors, transparent and they will shine through that. Got a little bit heavy without color. Who's gonna take away tau, that's better. Don't forget the wheel dry lighter. So again, when you're painting over the top of other pain that's already there. Just be gentle to put lots of pressure on with a brush. And you can see how that reflection is still shining through there. And again, leave some areas of white. And with those white boys, now you can see how I'm moving my arm. And I've got to everything should be at this stage going horizontally. I'm standing and I'm moving from my shoulder on the paint is flowing horizontally across the paper. Because water lies flat, water doesn't go uphill or downhill. And look how many little bits. With Larry's, I'm leaving. Reflection to shine through live. Some horizontal lines. Don't have a, a uniform block of color. Trying out quite quickly. Now some areas where it's drying out. It's actually quite nice because can you see there if you get your brush and new light on its site and you allow it to run out of paint. You get these little flecks that look like reflections in the sea that stretch over that reflection of the boat there. Around the boat, goes straight over the top of his whatever is on the top there. Try and leave the y of the Boy. I think I've gone over that but nevermind you can lift the hour afterwards because the water's going right up to the beach and leave some little bits of white salt, left little bits of white, but I hadn't over donate With the White. Ok. Now while this is still what you might want to see if there's any way I want some extra coloring now, because we put this Cerulean, haha, I think it doesn't need it further down because it needs money just to bring that color down a bit. And this is just a artistic license kind of thing, if you like. It's not for any other reason than to balance those colors. So I'm just gonna put a touch of that further down and that just balances that area there. And it says, it's a lovely color. And of course those colors are in the sky so the would-be reflected. So that's that one. And let's just see if we need anymore reflections and things. And I don't think we really do actually little bit more here. And here because it is still wet, they'll sort of blending a lot easier than before. Maybe under this wall here. That lines just a bit hoBshare. It needs sort of teasing down a bit. And some of the yellow make it a bit Sonya. And they will dry lot lights. So who's going to look different again when it's when it's dry and the beach cola, we didn't really we've met a lot brighter than it is on the photographs. And maybe we ought to put some of that into the war terror as well. Stim places again, it balances the colors or makes it all a bit Sania. So this is where you can sort of make things. You are owned by, changing cause. Just teasing things around. So when you work in wet into wet like this, the most important thing is that you keep these of a similar consistency or more all thicker. So every time you add paint into paint, it wants to have less water and more pigment. If you add more water in at this point, if I fill my brochure now with water and put it on here, that's when it would make a real mess. And of course, you can always practice your wet in wet technique consumes scraps of paper on the backs of things that haven't worked, et cetera, and have a bit of a play without Okay, so I think I'm gonna leave that as it says Now. I'm just thinking that maybe one or two of the tops of these buildings need a bit more shadow and nurses too big, too uniform. Just all to their molecular bed. But you could tweak about all day and n-doped spoil in it. So it's perhaps best to leave it. And of course, once it's dry, if there is something you really wanted to change, you could add more to it, but I think we should just leave it at that and keep it nice and simple. 10. Conclusion: Now we're at the end to the cause. As I said earlier, if you do have any questions for me, please don't hesitate to get in touch. I'm always here to help if you want to ask anything at all about the process. At this stage, it's a good idea to evaluate your work. I always tend to leave things on the side for a couple of days. Once you've done them, when you've been spending so many hours absorbed in doing something, you tend to not see the mistakes the same UB, you become absorbed in the end if working too closely to it, you need to take time away, go and have your lunch, have a couple of hours off, and then look at it with fresh eyes or even the next day. And if you just property picture or printer corner of the room where you are going to do walking past. You find that 61224 hours later, you'll notice things that you maybe want to alter that you didn't notice before. Having said that, don't overwork Kate, when she gets to that stage, raking, even nearly finished in a relatively happy with it, leave it at that stage because you consume spoil things. When I'm looking now at the one I've completed for your eye to see things I'm not too happy with that d go in a little heavy-handed without surreal the horizon and things like that, I will probably change. And I would make that a little bit live to an app more water in there. And there are all sorts of things we can always change. And that's the great thing about painting and drawing is you're always learning for next time. So at this stage, also make some notes what you will have a width which column mixes you enjoyed using and you think work particularly well, especially if your major on column mixes that you haven't made before of use new coolers, right them down the back made notes. So that when you come to do another painting, you, you'll remember how you mix that particular gray or brown or which favorite colors you had. So if something's really worked, also make notes. But if it hasn't worked, you can make notes on that as well. And that's all part of the learning process because with water color, the very best way to learn is repetition and just keep doing a little bit every day in familiarize yourself with the callers, with the brushes and with how what you liked and what you don't like because we're all very, very different. And so I was like, whoa, working more wet in wet. So that was like working more precisely working watch on dry and there's no right or wrong. Those are both absolutely fine. Most of us do a combination of the two. But it's finding what you like and what works for you. And that's all going to help you to find your own style rather than copy in my style. Okay, so any questions please do ask. In the meantime, I really look forward to seeing your projects uploaded and having a little chat with you. What I think about your painting and it's always a lovely to see them. I really do enjoy receiving your works on here on skill share. So thank you very much for taking part in this course and I'll be back with another one as soon as possible. Bye-bye for now.